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Marigold Rise Drawing

Lali Torma


Drawing, Ink on Paper

Size: 27.6 W x 39.4 H x 0.1 D in

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About The Artwork

***Winter Sale 25%*** . . “Marigold Rise” is a variation of an initial pattern from the first ink drawings of the series “Anima Lanima”. The rise movement in small increments reminds the viewer of sunlit building blocks in a world of perpetual summer and the dark yellow comes from a world of the warm days of the midsummer flowers. 100x70cm drawing of resistant to erasing and waterproof calligraphy ink made with a calligraphic pen. It comes unframed and rolled in a tube. Signed on the back.

Details & Dimensions

Drawing:Ink on Paper

Original:One-of-a-kind Artwork

Size:27.6 W x 39.4 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Romanian-Canadian, b. 1975, Oneşti (Romania), lives in and works in Montreal (Canada) and Berlin (Germany) Artistic currents: calligraphic abstraction, abstract expressionism, minimalism, optical art, Zen art Influences: Yayoi Kusama, Eva Hesse, Agnes Martin, Sol le Witt , Gerhard Richter, Jason Pollock, Mark Rothko, Jean-Paul Riopelle Calligraphic Drawings Everywhere around I see patterns and how they form moving surfaces. It is my essential visual element and it is naturally reflected in my work. Nature offers the most non-invasive, original, beautiful, hence true patterns. Looking at the forest or the sea you can see hundreds of patterns moving in front of your eyes within an hour. I do not try to memorize any of them, I let my subconscious absorb them freely wherever I go. And sometimes, contemplating a drawing, I can identify a very specific state I had on a rainy day in the Swedish forest looking at the pine needles. And in that moment, I feel there is some deeper truth to my inner state, beyond myself, a perceived essence of the inner state as a harmonious part of nature. My artworks are virtually abstract. When I work, I find a way to connect to the subconscious and the results are reflections of my inner world which are hardly representational. They resemble membranes/surfaces of abstract patterns, in continuous movement, with textures, like waves, vibrating in the light play; this is my visual universe. But their representational interpretation is not necessary, it is sufficient to follow the interaction between light, color, and movement. Most of the decisions are taken prion to drawing to encourage a subtle meditative process where I invite the subconscious to manifest freely. My first decision is color. Each drawing is monochromatic and has a specific color chosen by the inner state of the moment as to encourage a complete definition of the emotion, to understand it entirely. The initial blue, indigo or black of traditional ink becoming insufficient, I started to experiment with mixing the colors. And as my mixes got more precise, so did my understanding of more subtle inner states. As for the form, I am building free structures. I start with a line and build freely upon it. Each line depends on the previous one and the degree of freedom may seem small, but in fact two lines can juxtapose in an infinite number of ways and the surface is formed only by this juxtaposition, by the shadows.

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